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A multi-analytical approach for the study of brazilwood and its lake pigments was carried out based on historically accurate reconstructions. Recipes for brazilwood lakes from the fifteenth century technical text Livro de como se fazem as cores and the Winsor & Newton nineteenth century colourman's archive were reproduced and compared. Both primary sources allowed for the successful preparation of brazilwood lake pigments with colours that vary from light pink to dark red. The main steps and ingredients for the manufacture of these pigments were common in both sources, particularly the addition of Al3+ in the form of alum, and calcium carbonate (chalk). Reconstructions revealed that the latter acts as a pH buffer and filler, controlling the pH at which the lake pigment precipitates. The main difference between the two sources is that the nineteenth century recipes give the quantities for all ingredients, the precise temperatures and time, and achieved higher relative pigment yields (75% versus 45%). Full chemical characterisation of the reconstructions provided detailed information on the individual steps in the pigment manufacture and revealed that the presence of calcium sulphate dihydrate (gypsum) in the final pigment was a result of its formation in situ. Infrared, reflectance, and fluorescence spectroscopy proved to be essential and complementary techniques: while infrared was used to characterise additives and binders, reflectance and fluorescence data were fundamental for identifying the chromophore. The pigments and paints produced can now be used as standards for the identification and investigation of brazilwood lake pigments found in artworks. 相似文献
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Pigments on a figurative wall painting in Poudeh village, central Iran, were analysed by micro X-ray fluorescence spectrometry, micro Raman spectroscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry, micro Fourier transform infrared spectroscopy, X-ray diffractometry, and polarised light microscopy. Red lead, ultramarine blue, chrome yellow, brass powder, white huntite, and lammerite (Cu3(AsO4)2) were identified as red, blue, yellow, golden, white, and green pigments, respectively, while gypsum and barite were used as extender. In addition, glushinskite (MgC2O4·2H2O) was identified as a deterioration product of white huntite. Moreover, several analytical studies suggested that lammerite was a degradation product of emerald green (Cu(CH3COO)2·3Cu(AsO2)2) originally used as green pigment in the painting. The formation of lammerite is suggested to be due to the migration of arsenic throughout the paint layer. Based on the pigments identified, the wall painting is dated from the mid-nineteenth century to the mid-twentieth century. 相似文献
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《文物保护研究》2013,58(4):231-254
AbstractAnalyses of pigments from palettes used by J.M.W. Turner (active c.1792–c.1850) by means of microscopy, microchemical analysis, thin-layer chromatography, energy-dispersive X-ray analysis, X-ray diffraction and Fourier transform infrared spectroscopy are given. The occurrence of pigments in Turner's dated oil paintings and watercolours is also given, arranged by five-year periods. These findings are discussed in the context of published analyses of pigments from the first half of the nineteenth century. Turner used cobalt blue, emerald green, viridian, orange vermilion, barium chromate, chrome yellow, chrome orange and chrome scarlet within a few years of their known dates of discovery. It has become clear that Turner was using, or at least experimenting with, practically all the pigments known to be available at that time. In a few cases, in the light of these results, ideas on the availability of pigments to English artists have been revised backwards to the first known date of manufacture. Turner also possessed and used a wide range of red and yellow organic pigments, but few organic greens. The dyestuff extracted from Rubia tinctorum L. madder on an aluminiumcontaining substrate can be distinguished from the same madder on different substrates by its strong pink fluorescence in both ultraviolet and green light. The other red organic pigments (a second madder, brasilwood and cochineal dyestuffs on a range of substrates containing aluminium, copper, iron, aluminium/copper and clays) show negligible fluorescence. The red organic pigments were used in oil medium as well as watercolour, the yellows only in watercolour medium. 相似文献
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《文物保护研究》2013,58(2):118-122
AbstractThis paper deals with the materials used in conservation treatments in the first half of the twentieth century for the preservation and consolidation of wooden art objects from the Saxony region in Germany. The use of such materials must be seen as early attempts to find a conservation treatment for wood. The documentation of conservation treatments provides a reference to the application of oils and oil–resin mixtures. The results from the chemical analysis of samples of historic preservatives from the beginning to the middle of the twentieth century (so-called 'Puckelin') carried out by gas chromatography–mass spectrometry (GC-MS) and Fourier transform infrared (FTIR) analysis confirm the use of tung oil as a drying oil, whereas the use of linseed oil cannot be excluded. Colophony and, probably, amber varnish were used as resinous constituents. There are indications that a conservation material dating from the second half of the twentieth century most likely contained rapeseed oil. 相似文献
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《文物保护研究》2013,58(4):264-272
AbstractThe removal of calcareous accretions from archaeological bronzes can be a difficult step in their conservation. Chemical cleaning with chelating agents might be an alternative to mechanical methods. In this study the use of the chelating agent sodium tripolyphosphate (STPP) was examined to determine whether it is effective in discriminating between calcium carbonate and copper patina, and non-corrosive to copper alloys in the presence of air. Comparative experiments with STPP and disodium ethylenediamine-tetraacetate (Na2-EDTA) were carried out on synthetic malachite, cuprite, calcium carbonate, naturally polished malachite surfaces and sheets of bronze and brass. In addition to the properties of the chelating agent, the solubility of the salts and the pH values of the solutions are crucial factors in the removal of compounds of low solubility. The quantity of metal ions dissolved, estimated by atomic absorption spectral analysis and scanning electron microscopy, showed that the calcareous accretions could be removed satisfactorily, but STPP also dissolved constituent parts of the patina, such as malachite and cuprite, and may harm bronze or brass. Compared to Na2-EDTA, STPP is less effective in dissolving calcium carbonate. It is less harmful to the patina and base metal, but may lead to patination of the underlying metal. 相似文献
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Susan D. Costello 《文物保护研究》2014,59(6):377-390
The collection of the Worcester Art Museum includes two rare Magna Graecia terracotta funerary statues from Canosa, Italy dating to the third century BCE. Each depicts a female figure in prayer or lament known as an orante. The orantes were purchased by the museum in 1927, but shortly thereafter were separated. One was left in storage for nearly seven decades and the other was sold, and ultimately entered a private collection halfway around the world. The orantes were recently reunited under serendipitous circumstances and, after more than 80 years, will finally be placed on display at the Museum. As part of a comprehensive treatment, a technical study was carried out to identify the materials and methods used in their manufacture and in previous restoration campaigns. Materials were characterized by cross-section analysis, spot tests, Fourier transform infrared spectroscopy (FTIR), scanning electron microscopy (SEM), neutron activation analysis (NAA), thermogravimetric analysis (TGA), thermoluminescence (TL) dating, and reflectance transformation imaging (RTI). The analytical findings helped inform the conservation treatments, which included structural work, surface cleaning using a Nd:YAG laser, and esthetic reintegration. 相似文献
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Iron ore as pozzolanic filler is an uncommon constituent of historic plaster rarely reported in any research. This paper presents one such study from western India where hematite instead of crushed bricks was identified as admixture in thirteenth–sixteenth-century CE Mughal masonry lime works of Daulatabad Fort. The outer/inner coat plasters from different locations of the fort were examined for morphological, mineralogical, chemical, and basic physical properties. The analytical investigative study was performed by optical microscopy, sieve analysis, X-ray fluorescence, X-ray diffraction, Fourier transform infrared spectroscopy, Raman spectroscopy, SEM-EDX, and thermal analyzer. Although the plaster is dominantly made of micritic calcite and aggregate, incorporation of gypsum in the outer and inner coats has been detected and probably acted as a second binder. Cannabis sativa was mixed in the plaster, pointing to the knowledge of hempcrete technology by the makers of Daulatabad Fort. This investigation has now provided essential information with enough precision about this historic plaster for formulation of compatible repair materials essential for the site restoration. 相似文献
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Claudia Pelosi Davide Fodaro Livia Sforzini Claudio Falcucci Pietro Baraldi 《文物保护研究》2017,62(5):266-282
This work presents the results of the investigation carried out on a group of terracotta sculptures (modelli) (sixteenth to eighteenth century) belonging to the extraordinary collection of Palazzo Venezia in Rome. The study, the diagnostic analysis, and the conservation work, were possible thanks to the grant supplied by the Getty Foundation of Los Angeles and by the bank Intesa San Paolo. The terracotta modelli had a practical function as they were of great use as sketches to the creation of the final masterpieces or as models for restoration. As a consequence, the terracotta models allow reconstructing the creative process of artists and restorers, fundamental to outlining the ancient workshop production. X-ray fluorescence spectroscopy, micro-stratigraphic investigation, Fourier transform infrared spectroscopy, and micro-Raman spectroscopy were chosen as useful techniques to study the morphology and composition of the surface-painted layers. Usually the surfaces were painted in order to simulate the materials of the sculpture for which the model was created, for example lead white was used to obtain a white surface simulating marble. But, often the models were re-painted to make them more attractive for the antique trade. So, several pigments have been found on the surfaces such as zinc white, Prussian blue, chrome yellow, and mono-azo pigment. In some cases, the characterization of the surface paintings was particularly important to the final decision about removing or leaving the surface paint in place. 相似文献
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《文物保护研究》2013,58(1):104-111
AbstractValence House Museum (Dagenham, England) has, since 1963, housed not only a large collection of Fanshawe family portraits but also a very rich family archive which comprises estate and private papers from the sixteenth to the twentieth centuries of at least two branches of the family. Of national and international interest are the papers of Sir Richard Fanshawe (1608-66) relating to his three embassies to the Iberian peninsula in the 1660s. Three documents from this collection were taken for conservation and treated using both aqueous and non-aqueous methods of deacidification. Prior to treatment, the papers were characterized using the techniques of scanning electron microscopy (SEM), Fourier transform infrared spectroscopy (FTIR), electron spectroscopy for chemical analysis (ESCA or XPS), thermogravimetry (TGA) and thermomechanical analysis (TMA and DLTMA). Measurements showed that the three papers were similar in composition and were basically cellulosic materials with varying trace levels of Fe and Cu impurities. All three documents contained iron gall ink; the ink of the Dublin letter had an additional feature in the form of small bright specks which were characterized as a form of mica. After conservation treatment the papers were examined using the above techniques in an attempt both to determine and to quantify any changes which had occurred during the treatment process. Scanning electron micrographs showed that pronounced changes had occurred in the surfaces of the treated papers. With XPS it was possible to measure the change in the surface composition of the papers which occurred on treatlp.ent. It was also found that the treatment reduced the thermal stability of the papers in all three cases. 相似文献
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Birgit Angelika Schmidt Martin Andreas Ziemann Simone Pentzien Toralf Gabsch Werner Koch Jörg Krüger 《文物保护研究》2016,61(2):113-122
A great number of Central Asian wall paintings, archeological materials, architectural fragments, and textiles, as well as painting fragments on silk and paper, make up the so called Turfan Collection at the Asian Art Museum in Berlin. The largest part of the collection comes from the Kucha region, a very important cultural center in the third to ninth centuries. Between 1902 and 1914, four German expeditions traveled along the northern Silk Road. During these expeditions, wall paintings were detached from their original settings in Buddhist cave complexes. This paper reports a technical study of a wall painting, existing in eight fragments, from the Buddhist cave no. 40 (Ritterhöhle). Its original painted surface is soot blackened and largely illegible. Grünwedel, leader of the first and third expeditions, described the almost complete destruction of the rediscovered temple complex and evidence of fire damage. The aim of this case study is to identify the materials used for the wall paintings. Furthermore, soot deposits as well as materials from conservation interventions were of interest. Non-invasive analyses were preferred but a limited number of samples were taken to provide more precise information on the painting technique. By employing optical and scanning electron microscopy, energy dispersive X-ray spectroscopy, micro X-ray fluorescence spectroscopy, X-ray diffraction analysis, and Raman spectroscopy, a layer sequence of earthen render, a ground layer made of gypsum, and a paint layer containing a variety of inorganic pigments were identified. 相似文献
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ABSTRACTAiming at contributing to the preservation of black and white (B&W) film-based negatives held by Portuguese archives, four photographic collections from the first half of the twentieth century were selected for study. During the macro assessment of the collections the preservation condition and hues found in photographic negatives from the Elmano Cunha e Costa (ECC) were noticed, distinguishing this collection from the remaining ones. Additional attention was given considering that the ECC collection was formed in a colonial context in the 1930s, while the others were formed on the Portugal mainland. The ECC collection results from an ethnographic survey of Angolan tribes recorded with B&W film-based negatives. In this collection, sets of negatives with pink, lemon yellow, greenish, orange brownish, and red brownish hues were found. To identify the origin of such hues, the image layer was analysed by microscale energy-dispersive X-ray fluorescence (μ EDXRF) and scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM-EDX). Additionally, to assess the base decay and its effect on the formation of hues, the plastic supports were characterized by Fourier transform infrared microscopy (μ FTIR). To complement the assessment of the film-base decay, pH was measured by using combined microelectrodes. The identification of mercury, iodine, chromium, and iron by μ EDXRF allowed correlation of the hues found in the negatives with chemical corrective treatments performed to improve the image quality. SEM-EDX confirmed those results and proved that the elements found were in the photographic emulsion layer. The results obtained are relevant since the hues identified may now be used as markers to indicate the technical work performed on colonial photography. Additionally, the visual and molecular assessment of the negatives’ supports (good to fair condition) allow proposing that the original storage conditions may have had a beneficial contribution to their present condition. 相似文献
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《文物保护研究》2013,58(4):155-164
AbstractEthnological specimens of many different materials can be dry cleaned mechanically by means of a grit-spraying unit. Plain and painted leather, corroded metal, beadwork, metallic embroidery, wood, ivory, bone, basketry, some paper, pottery, shell, some textiles and stone are items which can be cleaned with less disturbance to the surface than is often occasioned by the use of other methods. A specimen constructed of several materials may be cleaned by this one method rather than by several, thereby also avoiding the use of water, solvents or other chemicals. The powdered abrasives used are calcium magnesium carbonate, sodium bicarbonate, glass beads, and several grades of aluminium oxide. Silicone carbide powder is used occasionally for very hard corrosion products on metal. 相似文献
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The Shosoin treasures, which include the belongings of Emperor Shomu (CE 701–756) and Empress Komyo (CE 701–760), have an honorable origin and have been continuously handed down for generations since the eighth century in the Todaiji temple in Nara, Japan. Some of the beautiful artifacts found among the treasures display the bachiru carving technique, in which a delicate pattern is produced by carving dyed ivory or antler using additional painting. To elucidate the colorants used for dyeing and painting in the bachiru technique, non-invasive scientific analyses using fiber optic reflectance spectrometry in the visible region, X-ray fluorescence spectroscopy, and X-ray diffraction were performed for eight treasures: a go game board, two go pieces, a nyoi (ritual nail pole), a kugo harp, a bird-shaped accessory, a kaburaya arrow, and a ritual ruler. Second derivatization of the reflectance spectra led to characterization of the dyes in the treasures as sappanwood, lac, madder, gromwell, and indigo. Lac and atacamite were respectively identified in the red and green areas of the painting by reflectance spectrometry and X-ray diffractometry. These results indicated the use of a variety of colorants for the bachiru carving technique in the eighth century. 相似文献
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Unvarnished twentieth-century oil paintings are often sensitive to aqueous swabbing, a method routinely employed by conservators for surface cleaning. This study proposes a connection between sensitivity and the presence of magnesium sulphate heptahydrate which has been identified on the surface of some of water-sensitive paintings. The probable source of magnesium is magnesium carbonate, an additive in some twentieth-century oil paints, which has reacted with atmospheric sulphur dioxide (SO2). Films made using modern manufactured paints and formulations made in the laboratory were exposed to gaseous SO2 and raised relative humidity and examined using scanning electron microscopy with energy dispersive X-ray spectroscopy and X-ray diffraction to characterize the crystalline entities. Films containing magnesium carbonate formed magnesium sulphite and sulphate hydrates. Films containing zinc oxide were also investigated. These formed zinc and sulphur containing salts. Sensitivity to swabbing with water before and after exposure was evaluated. Films that developed salts, demonstrated increased sensitivity to aqueous swabbing after exposure to SO2. Findings suggest that increased water sensitivity may be due to a combination of the formation of hygroscopic degradation products and to weakening of the paint film due to salt-induced disruption of the surface. 相似文献
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